Notes

SPAC Matrix

----------------------------------------------------
1 SBD:

Recording Info:
SBD -> Master Cassette -> PCM -> Dat

Transfer Info:
Dat (Sony R500) -> SEK'D Prodif Plus -> Samplitude v7.02 Professional -> FLAC
(3 Discs Audio / 2 Discs FLAC)

Transferred and Edited By Charlie Miller
charliemiller87@earthlink.net
8/27/04

Notes:
I can't confirm this lineage 100%, but that is how my dat was labled and that is how Rob Eaton has it listed, so I can only assume it's correct. I have also seen it listed as SBD>VHS>Cass>Dat>CD. This version sounds better and is more complete than the etree version.

----------------------------------------------------
3 AUDs:

AUD 1
-----
Recorded by Jim Oade
Transferred by Doug Oade, tracked by Darrin Sacks (dsacks@pcisys.net)

Field:
Schoeps cmc441 (90deg, 17cm) > Oade M118 > Oade mod SONY PCM-F1

Transfer:
Master PCM > DAW (via SEKD Prodif) > Wav > cdwav > Flac

AUD 2
-----
Source:
Painoman's Master Analog Cassettes
Digital Mastering by Charlie Connor 11/03/01

Lineage:
FOB AUD>CM (unknown mics)>Nak DR-10 (Playback)>
Midiman Flying Cow 24bit/48kHz A/D>RME Digi96/8>
Steinberg's Wavelab 3.0 (bit resolution & resampling to CDR
redbook 16/44.1>CDWav beta1.6 (tracking only)>SHNv3 (MKW ACT)

Correct sector boundaries verified using shntool

Note:

Although, the mics used to record this show are unidentified
it only will take you 5 seconds to realize the deck was patched into
a veteran FOB taper with good equipment and a great buffer
zone in front of the mics. This is an awesome "you are there" FOB.

A HUGE special thanks to Painoman for lending me his Master Cassettes,
Which took me a friggin year to digitize. Painoman you have the
patience of a saint.

AUD 3
-----
Source: Nakamichi CM304's + Beyer M101>Sony Mixer>Sony D5M
Location: *Lawn, Stand at 9 Feet
Transfer: Nak CR5A>Lunatec V3(analog out)>722@24/96
Editing: Adobe Audition 2.0 dither and resample 16Bit>Cdwav/tracking>flac16
Tapers: Tony Suraci/nak700
Transfer and upload by Tony Suraci.

---------------------------------------------------

Thank you to Charlie Miller for the SBD transfer;
to Jim Oade, Painoman, and Tony Suraci for recording the show;
and to Charlie Connor and Doug Oade for the AUD transfers.

Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>Soundtrack>WAV>FLAC)
July 6, 2008 Speed Corrected July 20.

Notes:

1) There is occasional, minor static in the SBD.

2) Soundtrack Pro was used to reduce/remove static in Rooster, Supplication Jam, Spoonful, and Black Peter. (The static in Drums>Space seems to be instrument related.)

3) While any of the above AUDs could have made a good, interesting matrix, the Force ushered me to choose Oade, and incorporate the other two for the patches, when available.

4) There is a cut in the Oade Aud during Lovelight (3:23-end of track) Tuning (3) (entire track) and Baby Blue (4:39 to end). Painoman's AUD patches the Lovelight track up to 8:22, and Surac's AUD patches Baby Blue.

5) There are cuts in the SBD during Supplication Jam (0:17-0:29) and Space (3:39-4:39).

6) Some echo effects that the band was using during this time for vocals and instruments can sound like "slippage," but I can confirm that they are not such moments.

7) The show is seamless.


Remastering Notes 07/20/08:

1) The speed was increased by 1.4%. It was rather asinine of me to sync the show to the analogue Miller source (love those Millers!) and not the digital Oade source. A reliable "source" informed me that this matrix was about 1.4% slow. Anything over 20 cents in speed difference from true time warrants a fixing in my view. The matrix SOURCE was not pitch-corrected; instead, I exported re-cut, speed-corrected tracks from the earlier Final Cut step in the process. This was done to avoid any unforeseen degradation that could have resulted from additional steps in processing (e.g. weird track gaps can sometimes creep in when pitch correcting in weird ways). There will remain a very small difference in speed from the Oade source because I synced this to analogue originally (with its slight fluctuations), but the general 1.4% increase is basically putting this show in pitch and giving it its true, proper energy.

2) Consequently, I needed to re-do the Soundtrack process, which included some touching up in Bertha as well this time around.